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What's the hardest casting choice you've had to make in your showrunner career?
Hardest casting choice?
Not sure what that means in context. Like we had two people and couldn't decide which one to pick? I can't even think of an example of that.
We've had some roles that were hard to cast. Goliath and Elisa come to mind, but once we found Keith and Salli, respectively, the decision was easy.
There have been roles where my first choice was over-ridden by TPTB, but it's always worked out pretty darn well, anyway.
1. Do you think that "quality of writing" is something that the average person might have a stronger opinion about compared to other subjective creative forms like art or music? Does that make it more likely that you'll get people complaining about the quality of the writing in a show rather than any other aspect of it?
2. Is it fair to say that a lot of complaints of this nature are ignorant of the many factors that go into making a show outside of purely creative decisions? Stuff like budget, scheduling or availability that might influence what's reasonably possible to do in a specific time frame?
3. Have you noticed these kinds of criticisms getting worse over time? I feel there wouldn't have been as many people complaining about "Hello, Megan" during the time of Gargoyles, or maybe even Spidey.
4. I get that armchair criticism has always been around and that social media has provided a bigger platform for it, but the recent negative reception to stuff like the ending of Game of Thrones or Star Wars The Last Jedi has made me curious about your perspective on this kind of thing.
1. I do think that. My hypothesis - untested, unconfirmed - is that in a literal sense, nearly everyone knows how to "write". They know how to grab a pencil, pen or keyboard and put words on a page in an order that is at least comprehensible to another human being. So there is, perhaps, a subconscious assumption that if they just set their minds to it, that they could write stories, too - as good or better as most of the professional writers out there. On the other hand, to take your examples, not everybody believes they can draw or make music. Those talents seem esoteric, special, unique. I believe they strike a bit more awe - at least generally - than writing does. So the writing becomes the easy target. Or at least the easier target. But, of course, I'm a writer that can't draw or make music. So it makes sense that I should believe I'm under attack more. Human nature. So take it all with a grain of salt.
2. I think that's very fair to say. (And this is reading a bit like I posted these questions myself in order to defend myself with the answers. Not that I'm complaining.)
3. The internet is... well... awful... in so many ways. And its spread and influence has increased over the years, so, yes, it is definitely getting worse. But it hasn't really changed. Back in the pre-internet days, I'd still get nasty letters (sent via the post office) on Captain Atom. And the basic percentage of praise to criticism to abuse is really about the same. It just feels multiplied by the internet. The quantity of feedback is exponentially larger. And, again, human nature being what it is, I can get literally 50 tweets of praise, which are then wiped out of my mind by one mean tweet.
4. Well, I hated the ending of Game of Thrones, too... and I had mixed feelings about Last Jedi... but that wasn't the point of your question. It definitely FEELS worse. The main thing that people don't seem to get is that I LIKE MY SHOW. Brandon and I like what we've done. Not every frame, mind you, but overall, we LIKE OUR SHOW. And we are making the show WE WANT TO MAKE. I don't mind that people don't like it. (It'd be lovely, I suppose if we had 100% praise for the thing, but I honestly don't expect that. Ever.) What gets on my nerves is the assumption that many "fans" (or hate-watchers) have that we should be making the show that THEY WANT US TO MAKE, and that we're failing because we're not MAKING THEIR SHOW instead of MAKING OUR SHOW. That does grind on me. You want to shout out: "GO MAKE YOUR OWN DAMN SHOW!! No one's forcing you to watch ours!" But, of course, that's not a particularly politic statement to make. And more hate-watchers are still more watchers.
In the time that you've been working in TV animation, you must have seen many changes in the industry. In terms of the "nuts and bolts" elements of making a show (storyboarding, animation, retakes, sound mixing etc), things must have changed quite a bit.
1. What aspects of production have become easier over time?
2. What has gotten more difficult?
3. Would these changes have more to do with changes in technology, your own level of experience in the industry or to the studio/property you're working with at the time?
4. Is there anything about the industry that was specifically different in the intervening decades with Spectacular Spider-Man or the earlier seasons of Young Justice that wasn't the case before or since?
5. If Gargoyles were to come back with you involved, obviously the most important thing is the continuity of the story, but to what extent would it have to change in its art or animation style to be made today?
1. I'm not sure "easier" is the term I'd use, but "possible" includes a lot of fixes we can make in editing and post-production on voices, on picture, on effects, etc. There are things we can do now that we flat out couldn't do before.
2. Nothing particularly springs to mind, unless it's the glut of content that makes getting attention for one's project more difficult.
3. Mostly, with changes in technology. I like to think that I'm better at certain things now than I used to be, too. Of course, the flip side of that is that I'm also more demanding than I used to be. Different studios have different strengths and weaknesses, but I haven't noticed one being stronger or weaker overall, and I've worked at a LOT of different places.
4. Post-production visual FX work became much more commonplace since. But it was largely not done previous.
5. That depends on all sorts of factors that are hypothetical. But there's no reason why - at least in theory - we couldn't simply use the same design style, assuming TPTB approved.
Hello! I was wondering if you ever watched Robert Kirkman's Invincible (2021) animated series? It's about superheroes and gave me the same vibes as Spectacular Spider-Man and Young Justice (just WAY gorier). I really enjoyed it, and one aspect of it that I absolutely loved was the longer episodes, running about forty-to-fifty minutes each. I know it's way above your pay-grade, but I was just curious, if you had the choice, would you want to extend your episodes to fifty-some minutes like Invincible? Or would you want to keep them a little over twenty minutes? Assuming of course you'd be able to still produce twenty to twenty-six episodes for each season, which Invincible didn't do at just eight episodes per the first season.
Anyways, Happy Halloween! I'm eagerly awaiting the next episode of YJ Phantoms! Artemis' arc is looking to be fantastic!
I haven't seen Invincible.
In some ways, I'd love to stop worrying about episode lengths entirely. But I'd still want the same quantity of episodes (or more). And budget is definitely a factor. It's been great on the last couple of seasons of YJ that if we have (within our budget) been freed from the constraints of a maximum length. But I don't feel like we've been hugely restricted by running between 22 and 27 minutes. Don't know that we need "fifty-some".
In your "big round of question-answering" earlier this year, someone asked you about why there was never a Christmas episode of "Gargoyles", and you mentioned that it was never a big enough priority, though there'd been some ideas for it.
This reminded me that Halloween was the only holiday to feature in "Gargoyles" (unless you count New Year's Eve in the "Bad Guys" spin-off) - it got in twice, in fact, once in "Eye of the Beholder" and once in "Clan-Building", and from there, a thought I'd had about "Gargoyles", "The Spectacular Spider-Man", and "Young Justice".
Now, though I think that both "The Spectacular Spider-Man" and "Young Justice" were both well done, they never grabbed me as much as "Gargoyles" did. (I suspect that this comes from my having grown up on medieval legends and history far more than on DC and Marvel super-heroes, so that "Gargoyles" war far more a "first language" for me than the other two series were.) But one feature of "The Spectacular Spider-Man" and "Young Justice" that didn't appear in "Gargoyles", a feature that really delighted me, was that sense of the year's cycle, traveling through various holidays, in particular (I recall that "The Spectacular Spider-Man" incorporated Halloween, Thanksgiving, Christmas, New Year's , and Valentine's Day, and the first two seasons of "Young Justice" - I haven't gotten around to seeing Season Three, so can't comment on it - covered the year's cycle - if a different year's cycle from New Year's to Independence Day than from Independence Day to New Year's, thanks to the time skip). Of course, I think it makes sense that those series would focus more on that cycle, since their leads were human (with a few alien leads in "Young Justice", of course, but who were interested in Earth customs), while the gargoyles would have less interest in human holidays (apart from Halloween,for obvious reasons).
More musings than an actual question, but it was an observation that I wanted to share with you.
I think you're right. But I also think it had a lot to do with an evolution in my sensibilities. Keeping track of time for me started to become a priority for me later in my work.
This is my first time writing in, so I just wanted to say thanks for having this website up! I can't imagine the amount of time it takes to answer everything. It's truly appreciated. I picked up YJ not long after the third season wrapped up, and I'm delighted I got into it when I did.
I especially have to thank you (and the rest of the YJ crew, of course) for Artemis. I was in a bit of a rough patch when I watched it first, and I saw a lot of myself in her. Watching her overcome her fears, especially in the first season, was a reassuring inspiration. There's been more than a few times when I found myself thinking of her as I braved through things. She means a lot to me, and I'm thrilled to see her still working things out now, even though she's been through so much. (I was beyond excited when we found out she's leading the Team now! I can't wait to see that!)
Anyway, I've had these lying around for a bit, so here we go.
1) You recently mentioned some of the organizations youâve reached out to for help with YJâs characters of color, cultures youâre unfamiliar with, and the LGBTQ+ community. Itâs wonderful to hear that youâre working with them! Which other groups have you worked with (both today and during the first and second seasons) and how does that relationship work?
2) What does a day in the life look like in the YJ acting booth? (I have to imagine itâs pretty fun with that particular group of actors and directors!) Any idea when youâll be able to record in person again?
3) From what I understand about acting (both voice and âregularâ), itâs incredibly important for actors to be able to play off of each other. How does that work with recording during the pandemic? Do actors record lines individually and then play off those recordings, or are Zoom meetings used to imitate the booth as much as possible?
4) One last question about voice acting: how much influence do your actors have over the characters' personalities? Are their ideas about the characters integrated into the writing?
5) Iâve always loved the glimpses weâve seen of YJâs interpretation of Atlantis. Many of the versions Iâve seen are basically just a very large underwater city with little oceanic inspiration. YJâs version seems to have been created with a lot of thought toward how the structure of the seafloor and plant life interact with it, as well as the intense influence of magic. The colors also often feel particularly vibrant and ocean-like. Given that youâre not one of the artists, Iâd guess you may not know much about how it was designed, but is there any insight you could give to choices made regarding Atlantisâs design and culture?
I've just seen the first episode of Phantoms, and it's looking spectacular so far. Good luck with finishing up post-production, and thank you again for your hard work!
1. I'm going to hold off answering which other organizations we've worked with for now, as I think revealing the organizations would by default reveal content. I'd be happy to answer this after the season's over. But I've already stated that we've been working with GLAAD and OUT and MPAC (Hollywood Division). Plus, we've run every single outline and script by Dr. Janina Scarlet (superhero-therapy.com and @shadowQuill on Twitter). She's helped us with psychological and therapeutic details, while also generally acting as a sensitivity reader for our work. And there's also Warner Bros' own DEI department, who've been very helpful. There are more organizations, but the rest will have to wait for now. As for process, it can differ slightly. But generally, we discuss the stuff we were thinking about doing with them and get their feedback. Then we show them our outlines. Then our scripts. Sometimes even animatics or animation. At each step, we listen, take their notes and make sure everyone feels good about what we're doing before we take the next step in the process. We don't do anything that doesn't work for our story and characters. But we admit to ignorance on many fronts and many levels, and we like educating ourselves and allowing that education to be reflected in the work.
2. Well, it is fun! (Or, you know, most of the time. Nothing's perfect.) But pre-pandemic, we'd bring a majority of any episode's cast in together. (Although our casts are SO big, that sometimes we might split that cast into two shifts, trying to get folks who have scenes together to record together.) Jamie usually has them do a first run through without much direction. Then he might dive in and nuance an exchange or a line. Or even a certain phrase. We like to have options, but we want to make sure we get at least one version that hits the nail on the head. And we also make sure that we have at least two versions of every line. Post-pandemic, everyone was recording alone. Which is still great but not quite as much fun. There's a lot of playing back what one actor did for the other actor. (Whomever went first, kinda gets to set the tone for any scene, in these cases.) As for when we'll get back to recording in person, I don't know. Not on Season Four. That's all fully recorded.
3. See above.
4. After an episode or two, we definitely begin to incorporate their performances into their characters. With regulars or our long time recurring actors, we often sit down and talk to the actors about their characters, and I'm not at all adverse to listening to their takes on their own characters and importing those ideas into future episodes.
5. We wanted to fully bring their culture and milleu to life. To see Posiedonis - which is all you've seen of Atlantis so far - as its inhabitants see it.
Thank you for watching!
Can you describe the recording process of Young Justice: Phantoms? Was it ENTIRELY done separately? Was it done via video-conferencing? Did each actor get the entire script or just their lines?
The first half - or nearly half - of the season was done the way we always have, with group recordings predominantly, while picking up the occasional actor at a different time, based on availability.
About halfway through the season, we temporarily stopped recording because of the pandemic.
So in order to keep our board artists supplied with vocal tracks and working (from home), we began recording scratch tracks, using myself, Brandon, voice director Jamie Thomason, Talent coordinator Laura Lopez, editor Cris Mertens, and my wife and kids.
Then we began recording actors individually from home. Some of these actors have fantastic home studio set-ups. Others, well... not so much. We weren't video-conferencing with them, but we were audio-conferencing.
Then we switched from BangZoom Studios for our records to Atlas Oceanic Picture & Sound, which had a booth with a door that opened right into their parking lot. That way an actor could drive up and stay in their car until called for. Then they could walk right into the studio without any contact with any other human being. The engineer was in the control room, and the rest of us - including Jamie - were all listening in from our homes. Then when that actor was done, the booth would be sanitized before the next actor entered. Some of our performers still worked from home, but about half came to Atlas. It was always the choice of the actor.
And every actor always gets the entire script.
In the recent IGN article you were interviewed for, you mentioned how Gary Krisel tried to nix the existence of Alexander. Is it possible there was some meta-commentary in The Gathering? Both you and Xanatos (with help) had to fight against a seemingly all-powerful force to save Alex? I'm probably reading too much into things, but I found it an amusing parallel.
All that was done before Gary suggested that Alex wasn't a great idea. (That's what saved him. He was already baked in, so to speak.) So, yeah, I think you're reading too much into it.
Why wasn't Gargoyles included in Kingdom Hearts 3? The more I binge Gargoyles from Disney+ the more I think of how it would have been just the perfect world for a DLC add on. It's just a shame it's not included and I really want to know why.
Then you are asking the wrong guy. I have no idea.
I have a simple question, who were the artists that did the concept art for the show? I have searched extensively but couldn't find much in detail, even after searching the archives.
I found Dennis Woodyard, Kazuo Terada and Hiroshi Ohno but not much in terms of concept art. Maybe it's because there wasn't social media platforms to share them to back then when the show aired.
From context, I assume you're talking about Gargoyles. This is all in the archives, but I don't mind mentioning their names again:
Hi Greg! Once again, thanks for the amazing show that is Young Justice. I wanted to ask a few more questions about the show I adore.
1. How old are Traya, Anissa, and Jennifer?
2. Was there any debate between the writers, producers, and actors over how to pronounce Lian? (I know some people including myself pronounced it as LeeAnn, and sometimes say that)
3. If it was Cadmus policy to delete the source material, how come they kept Roy alive and frozen instead?
4. How did Mal and Karen discover Conner's and Megan's real identities, or is that something we might see later?
5. What's your response and feeling when people come up to you and say that the show (or even Gargoyles) helped them during a difficult time, maybe even saved them from suicide?
1. By the end of Team Year Eight...
Traya Smith is 11;
Anissa Pierce is 5;
Jennifer Pierce is 3.
2. I pretty much set it as Lee-AHN from the beginning and Brandon, Jamie and the actors followed my lead.
3. The Light thought they might have a use for him later.
4. Yeah, no spoilers.
5. On the one hand, I'm glad we were of use, but it's sad that we were necessary in that way.
I love watching Young Justice and Gargoyles, they're amazing shows! I can't wait for the 2nd half of YJ outsiders, but regarding your earlier work, what was your favorite part about producing Gargoyles?
Back then... probably the voice recordings and the sound mixes.
Sorry to put you on the spot but...
Roy Thomas alleges here, https://www.bleedingcool.com/2019/04/18/an-open-letter-to-dc-comics-from-roy-thomas-on-paying-and-crediting-whats-due/ that DC Entertainment has not paid him royalties for their use of Artemis who he created. How do you feel about this?
Did DC ask you to change Artemis' name to Tigress or was it just a story/character decision?
DC did not ask us to change Artemis' name to Tigress. That was a purely story-driven decision. (And her name is still Artemis Crock.) Besides, to my thinking Roy created BOTH Artemis and Tigress (i.e. the Tigress version of Paula Brooks).
I worked as Roy's assistant editor at DC in the mid-80s. He was very good to me. And, of course, I personally think he deserves royalties on the Artemis character, no matter what she's called.
In the Bleeding Cool article linked above, he's wrong on only one point: when he says that virtually every other character in YJ has creators listed. Unfortunately, that's not true. No matter how many creators he sees credited on our show, the vast majority of characters still do not receive creator credits - or only include some but not all of their creators. How they decide who does and doesn't receive that credit (and the royalties that go with) is a complete mystery to me. I have been pushing back against this from Day One... to no avail.
Now, I might honestly get in trouble for posting this. And it won't change anything, anyway. So a big part of me is hoping that Ask Greg doesn't have much of a reach.
Or that I'm politically smart enough to delete this post.
But I'm not.
Having watched the first half of season 3, I can honestly say that the writing on Young Justice is as sharp as ever. As always, some episodes like "Evolution" and "Nightmare Monkeys" are better than others, but that's going to be true of any show.
However, I recently re-watched "Depths" from season 2, and I have to say that the quality of the animation on Outsiders is just not at the level of the animation on seasons one and two. What would account for this? Is your budget smaller? Did you switch animation houses? Or, do you not agree with the premise of my question?
Don't get me wrong. I think the animation is okay. It's just not as good as prior seasons.
Our budgets are technically higher, but are (with inflation) more or less the same. We did switch animation houses. But we had to. The world has changed. There's way more production in Seoul than there used to be. It's way more competitive for studios and artists over there.
But basically, I don't agree with the premise of your question. We've had mixed animation success in every season, with strong episodes and weak episodes and everything in between. I'd put the animation on "Nightmare Monkeys" up against anything we did in Seasons One or Two. And there are episodes in all three seasons that had us pulling our hair out over the animation. In the end, however, I think they all cleaned up respectably.
Not a question. Just letting you know, my six year old daughter loves Gargoyles and was ranting that the bad guys were being mean to the Gargoyles. She'd make a great advocate for them. And she loves what you guys did with the comics. I had to change some of the words that my daughter does not need to learn yet. But that's okay. I hope someday you will be able to keep up the good work.
Thank you so much. That really makes my day!
You know, when we first focus tested GARGOYLES, the moderator asked the kids, "Did you like Goliath?" The kids all said yes. Then: "Did you like Demona?" The kids said no. The focus testing folks then advised us to take Demona out of the show. We had to explain to them that the kids didn't like Demona because she was THE VILLAIN! (Duh.)
Where there any plans during the production of the Avalon world tour for the travelers to wear outfits from the London, Mayan and the ishimura clans?
No. Pragmatically, changing costumes - particularly back when we were producing Gargoyles in the 90s - was a costly, difficult thing. We did it, but sparingly. I doubt we even considered doing it in the way you're suggesting.
English isn't my native language, but i really want ask you some questions.
I know you are color blind and maybe this question is more suitable for Phil Bourassa, but since both are currently working in Young Justice: Outsiders, maybe you should ask him if you can´t answer...
1)Why decided make the Bart's eyes green? In all the comics his eyes are yellow (except in New 52 where were red and that Bart at the end wasn't Bart). His yellow eyes were an important part of his design, even his googles are amber color in order to hiding his eyes color because were so unique what could reveal his secret identity. His eyes were the first thing we saw clearly in Bart´s debut in Flash #92 (and i thought he was a girl because this close up of big eyes and hair locks looked like an image from a romantic comic XD) Change the yellow for the green, is like turning Superman blond.
2) I've noticed the Reach Scientist's dress look like a hijab with a niqab, and according to Young Justice wiki, i'm not the only who think that. So Is this intentional?
2-a) All the Reach women dress like her?
It´s a bit hard to see a woman with a "hijab" being ignored, despised and silent by a man (although she was smarter).
3) Why Traci 13 was redesingned like caucasian to the season 3? She was asian american in the comics and Young Justice had being doing a great work including divertsity in the members of the Team
I love Young Justice and i'm very happy for the season 3. Thank you very much for your great work
For the record, I'm red-green color deficient, not full on color-blind.
1. Maybe because of my color deficiency, I wasn't aware of Bart's eye color. I can't speak for Brandon, Phil or our color specialist James Peters, but it is certainly possible they weren't aware of that detail either.
2. Not that I know of.
2a. Not necessarily. No spoilers.
3. Look again. Thirteen/Traci Thurston is biracial in Young Justice. Her father is Caucasian. Her mother is Asian. I think that's always been true in the comics.
What will the run time of Outsiders be? Will it be longer than Invasion?
I assume you mean per episode.
We no longer have a set time constraint for lenth of episodes, as we did back on our cable days. Of course, we have budgetary constraints, so the episodes are still approximately the same length. But some ran a litttle longer than others, as we can now edit each episode to its ideal length and not to some arbitrary fixed length.
hey mr greg weisman i was just wondering were you aiming a little older and just had to keep it appealing for kids
We talking Young Justice? Gargoyles? Shimmer and Shine? Every series is different in its demographic targeting, sometimes even from season to season. In most cases, we tried to target multiple demographics simultaneously by writing in layers.
Can you tell us the meaning of the colors of the index cards you use to plan your shows?
It changes from show to show, even from season to season. And on YJ S3, because of index card shortages of specific colors (this happened, believe it or not), it changed more than once DURING the season.
As an example, in YJ S1:
Green - villains
Red - Justice League
Blue - The Team (hero stuff)
Purple - The Team (teen stuff)
Yellow - Stuff where a specific date matters (like holdays)
White - Stuff that we're laying pipe for but will not objectively reveal to the audience at this time
The following needs saying, so I'm taking time out from my very packed weekend - not to procrastinate, which would not be unusual - but to write up something that I think is important.
But first, some backstory...
I'm not particularly smart about very many things. I am in many ways a bear of very little brain. Ask anyone. I use an iPhone 4.0 because I literally believe that I don't have the brain space to deal with upgrading. I'm a slow reader. My dyslexia makes math difficult as I am constantly transposing numbers. I'm afraid of change. Etc., etc., etc.
But one thing - maybe the ONLY thing - I am smart about is STORY. Now, I've studied story for decades and decades in small ways and large. I also believe I have an innate gift for story. Like a great pianist, the gift itself would have been wasted without years of study and practice. I've had and done both.
What that means is that - when it comes to story - I have often (not always, but quite often) considered myself - with no modesty and tremendous arrogance - to be the smartest person in the room. In any room where this is a topic of conversation, but especially in any room where story was being professionally discussed. (You can see why - with an attitude like that - I'm so popular with animation executives and the like, and why I've been fired from so many jobs.)
Even on the many, many occasions when I have felt that I am among peers who understand story as well as I do, I never felt like they understood it better than I. As good, yes. Differently, sure. Stylistically, of course. But not better. I never felt anyone knew story better.
Oh, I've made mistakes, missed opportunities, slipped up, ad nauseam. I'm human and have never claimed perfection. I've collaborated with some brilliant and wonderful people. The list is nearly endless. But none of that ever shook my basic feeling that when it came to story, I was as smart or smarter than anyone in the room.
All that changed with YOUNG JUSTICE.
So let me state it for the record: when it comes to story, BRANDON VIETTI is the Smartest Human Being in the Room.
I'd love to tell you - BELIEVE ME, I'd love to tell you - that he learned all this at my ancient knee, and that if the student has surpassed the master, the master can at least take some satisfaction in that. But that, dear readers, would simply be a load of crap.
From Day One of YJ, as witness Kevin Hopps could attest, Brandon Vietti knew story, understood it deep, the way I do. And he was smarter about it than I.
The ultimate example of this dropped this past Friday.
Episode 307 of Young Justice: Outsiders, entitled "Evolution."
SPOILERS coming, so if you haven't seen the episode then please go watch it first before reading any further.
Like all YJ episodes this season, Brandon and I broke this story together. A pretty even 50-50 collaboration. There were certain things I wanted specifically to see, like the Cave Bear. Certain things I had researched such as that in (actual documented non-DC Comics) mythology, Nabu was the son of Marduk. And there were certain things that BV wanted in there, like the meta-human kid that Kalibak sacrifices. Certain things he had researched like The Art of War by Sun Tzu (a.k.a. Vandal Savage, a.k.a. Genghis Khan, a.k.a. Marduk, a.k.a. etc.)
And together, we created a pretty kick-ass story for the episode. I don't actually remember the day of the week, but for the sake of simplifying the story, let's say we finished breaking/building the story with index cards all neatly pushpinned into my office bulletin board on a Monday. Monday evening. We both felt pretty good about it, or at least I did, and we left for the day.
Tuesday morning, he comes in and says, "Something's missing."
I tell him he's crazy. There's nothing missing from 307. Nothing. It's a great damn episode. Maybe one of our best.
BV says no. Something's missing.
I say, "What? What's missing?!"
BV says, "I don't know yet. Something. Give me a day."
I roll my eyes in as pronounced a fashion as I possibly can and say, fine.
Wednesday morning he comes in and says, "I want to add a character."
I'm resistant. "It'll mess up the works, I tell him."
But he explains, and of course, he's right. Because Brandon Vietti is the Smartest Person in the Room.
The character he wants to add is Olympia. Olympia Savage. (I take credit for the first name only.) That's right. In our first version of this story, Olympia simply did not exist.
Try to picture "Evolution" without Olympia. Be honest. It's still a solid story. A few of the actual things Olympia does, we had Cassandra doing. But otherwise the plot remains almost completely unchanged.
But not the ending.
With Olympia in the story, the episode isn't merely a solid YJ episode. It's not merely a great YJ episode. To my mind, "Evolution" transcends YJ. It is a phenomenal, even revolutionary twenty-plus minutes of television.
And I tried to talk the guy out of it.
Of course, BV's contributions don't end there. He wrote the script, too, which is fantastic. And if you knew how much he contributed to every facet of production it would humble you. It humbles me, and as you can see above, I'm NOT a humble guy.
But screw all that. I'm not talking about pretty pictures, or color, or sound, or music or even dialogue.
This post is ONLY about STORY. And when it comes to STORY... BRANDON VIETTI will always be the SMARTEST HUMAN BEING IN THE ROOM.
I bow to his greatness. And trust me, I do not do that lightly.
To be honest, he's so good, it's pretty damn annoying.
But it's an honor to be his partner.
Are they any bisexual and trans gendered gargoyles in the gargoyle universe?Have we seen them without mentioning who they are. the tv show and comic were theyre closeted for now?
Thank you and the crww for a great cartoon ahead of time.
Bisexual for sure, and yes you've seen some, though keep in mind that most gargoyles mate once and for life, so you're less likely to get proof. I'd think there would be trans-gendered ones, as well, but I'll admit I haven't yet written any.
Back in the day, we weren't allowed to objectively present LGBTQ characters. That doesn't mean the characters were in the closet. We tried to write with consistency - even to the things we weren't allowed to do.
hi Greg i was just wondering were you making gargoyles for kids or did you just have to appeal it to them to and were aiming for older
Our primary target was dictated to us as "BOYS 6-11". But our intent was always to reach a much wider audience. We had to hit that center target, and we did. But we intentionally created a series that would work for kids as young as four. For girls and women. For tweens, teens, college students and adults.
Are all of the premises for individual scripts generated by you and Brandon? Or, does your team of writers pitch some story ideas to you? Can you give a specific examples in regards to Young Justice how this collaboration works?
On seasons one and two, all the springboards were generated by Brandon, myself and Kevin Hopps, working together to break the stories. That is, we didn't go off separately and come up with premises and then pitch them to each other. We sat in a room and worked it all out together. I then wrote all the premises, and those were handed to the writers, who wrote the outlines and the scripts.
Season three has been similar, except it's just been Brandon and myself generating the springboards and breaking the stories. I then go off and write all the beat outlines. And those are handed off to the writers to go straight to script.
Do you enjoy having conversations with people about your work (If they are not asking for spoilers or trying to pitch you ideas etc.
Hey Mr.Weisman, managed to check out Starbrand and Nightmask and it was pretty good to no one's surprise. Also congrats on a season 3 of Young Justice. I just have two questions regarding that show.
1. You mentioned that there was both a timeline(that only you and Brandon are privy to) and a series bible(with details like Vandal Savage being Attila
the Hun supposedly). In the context of Young Justice, is their a difference or are they more or less the same.
2. You mentioned on this site that you used post cards and a giant billboards with different cards with different colors to establish certain dialogue or plot points. Do you also use them for events off screen such during the time skip or prior to the series?
Thanks in advance for time.
1. They are two different documents. I'm constantly updating the timeline. The bible, I haven't looked at in five years.
2. Index cards, not post cards. And, yes, sometimes.
What in the animation industry has changed since you first got into it, for better or for worse?
Tons. And nothing.
The biggest change for me, right now at least, is the end of animation in broadcast syndication and for the major networks, through the rise and (plateauing) of cable stations, into streaming services.
Why didn't SpecSpidey or YJ have "Previously On" segments? Was it a network or production decision?
I'm vehemently against using them. I learned painfully from Gargoyles that they actually have the opposite effect then one would think.
Instead of acting as small reminders or hints, they convince people that they've missed too much to join the series now. They were never necessary. Everything you truly NEED to know to enjoy a given episode is spelled out in one way or another within the episode itself.
Did it ever get annoying having to make almost every single character in Gargoyles you wanted to kill fall off something?
Eh. More amusing than annoying.
Hi big fan of the series gargoyles thank you so much for your part in creating the show. My question is during the creation of the gargoyles were did the ideas of there look come form for instance London clans animal features wyvern clans beaks horns human faces and so on also Hm which were your favorite clan artwork my personal favorite wyven/avalon clan
I don't really play favorites. They're all my children.
The idea that the London clan would be modeled (loosely) after heraldic animals was mine. Not the execution, of course. Credit for that goes mostly to our lead character designer Greg Guler.
The idea for Zafiro being serpentine was also mine. We just looked to Aztec, Olmec & Mayan art for inspiration.
Hi Mr. Weisman. I remember we met in WonderCon last year and I asked you questions about writing spec scripts for cartoons. I remember you said that I should write three scripts, then go over them, and only submit one of them if you're absolutely sure it's good.
Knowing what you and your crew got away with in Young Justice, how do how people like you and Gennedy Tartakovsky on Sym-Bionic Titan get away with the TV-PG content and make your show with teens in mind? And since I plan to make TV-14 shows for the main Cartoon Network channel, would the channel accept them?
You'd have to ask them. The needs of ANY given channel are constantly changing.
And I don't write for an older audience. I write on levels so it works for the widest possible audience.
How long did it take to write and make an episode for Young Justice?
By the way, you are THE BEST writer on TV ever!!!
Um... well, it takes a minimum of nine or ten months to go from an episodic springboard to a final complete episode in the can, ready to air. Often more like a year.
Hi Greg, I was just wondering, how do you react to negative criticism on a show you worked on before like all those people who heavily criticized something you that you and your team liked, like the Joker in Young Justice for example? Would you stick to the creative choice despite how the majority of the audience did not approve or would you make changes to that criticism even if you thought it was fine the way it was.
I know I'm not obligated to advice the creator what to change or not not to change, I am merely asking how the creative team would react in this situation, because I too am learning in production management and how to plan construction for a form of entertainment media.
It would really help,
I have to stick to my guns. In part because of the long lagtime between production and airing. And in part because I need to maintain my passion for a project. If I'm taking notes from everyone who can make a suggestion on the internet, I'll (a) never get anything done and (b) quickly lose my passion for the project.
If I had listened to all the YJ criticism that came down the pike early on, I would have, for example, cut Miss Martian, Superboy and Kid Flash from the series. I would have made the season one Robin Tim Drake and not Dick Grayson, which means we would never have gotten Nightwing in Season Two. I would have lost Dick's laughter and his wordplay. Aqualad would be another white guy and not the son of Black Manta. Etc. Etc. Etc.
People don't know what we have planned, and they react. Often negatively - especially on the internet - to things that they will eventually love if we and they are patient.
Going through the archives, I find the point by point summaries you give of the production process behind your various shows very interesting. It isn't necessarily obvious how much work goes into animated shows so I appreciate that you provide these brief insights.
Have you made a lot of changes to your approach or has it remained largely the same over the years? To put it another way, was your day to day work on Gargoyles significantly different to that of the work you did on WITCH, Spectacular Spider-Man or Young Justice?
Are any changes more to do with your own personal preferences, or are they largely determined by shifts occurring in the industry in general, with improvements to technology and so on?
Day to day, little has changed of substance. But my process of breaking both arcs and stories continues to be refined with every new series. And there are technological changes that influence things too. I used to review timing sheets. Now, I almost never do. In fact, on Star Wars Rebels, I never even saw storyboards - just animatics.
But every series is slightly different. A lot depends on who you're partnered with, and the processes at any given studio, etc.
And yet, at the end of the day, the process is still basically the same.
I was recently watching the Gargoyles episode "Eye of the Beholder" (which is one of my favorite episodes) and I was curious about one aspect of that episode's production. Was the Werefox's roars, snarls, growls etc. performed by Frank Welker? Some of the effects sound quite similar to other large beasts that Frank has performed. Thanks in advance.
I don't recall. Was Bronx in that episode? If not, then probably not - as we're not allowed to use Frank's voice without paying him. And I don't think we'd have brought him in ONLY to roar for a guest werefox.
In any case, I'd think most were done with sound effects.
But it was so long ago.
You have stated that to do Dr. Fate's voice Kevin Michel Richardson (the voice of Nabu) and whomever is playing the host (Jason Spisak/Kid Flash, Khary Payton/Aqualad, Lacey Chabert/Zatanna, or Nolan North/Zatara) are recorded saying the same lines. Then in post production, the voices are double-tracked, so the audience hears two voices.
1. What is the process step by step in order to be able to double-track?
2. Is double-tracking something that requires a studio in order to be able to do or could it be done from a smart phone?
1. Um, it's pretty much what you listed above. It didn't really matter who we recorded first, so that was based on scheduling. If Kevin was in the recording booth first, we'd record Nabu first. If the host body actor was there first, we'd record him or her first. If they were both there, it was sort of Voice Director's choice. We then played the take from whomever recorded first for the second actor, who attempted to match the basic cadence and tempo. But we consciously chose NOT to have the second actor try to match the first exactly. We like those moments when they aren't perfectly aligned. Then during my attended edit of the dialogue, we'd lay those tracks over each other for storyboarding and animation purposes. (It helps that the Helmet of Fate doesn't reveal any lip movements, that might cause confusion between which track to animate.) Finally, in post-production, specifically at the mix session, we'd mix the tracks so that you can hear at least a taste of both flavors.
2. Uh... I don't know enough about smartphones to answer that question. I wouldn't know how to record one track on my smartphone, let alone two, let alone know whether or not I could double track 'em onto a single track.
hey Greg, i've been a fan of Gargoyles since i was 11 yrs old, i was wondering, how did you come up with the distinct roars, growls and snarls for each clan member? (you can include Demona if you want)
We worked them out on two levels. First with the various actors and voice director Jamie Thomason. Then with our sound effects editor Paca Thomas at Advantage Audio.
FYI - Advantage Audio is also where we did The Spectacular Spider-Man and where we are currently posting the Rain of the Ghosts AudioPlay.
I leave tomorrow for MomoCon 2015. More information on it can be found at their website: http://www.momocon.com/
But here's MY schedule for the weekend:
FRIDAY, MAY 29, 2015
BREAKING INTO ANIM 12:30pm - 01:30pm
Main "Villains" Room Omni-International
w/Floyd County Productions
SIGNING 03:30pm - 05:30pm
YOUNG JUSTICE 08:00pm - 09:00pm
Main "Villains" Omni-International
SATURDAY, MAY 30, 2015
SIGNING 11:00am - 12:30pm
ANIM CREATORS 02:00pm - 03:00pm
w/Ben Mangum, Mike Reiss
SIGNING 05:30pm - 07:00pm
SUNDAY, MAY 31, 2015
SIGNING 11:30am - 01:00pm
GARGOYLES 02:00pm - 03:00pm
Main "Villains" Omni-International
That's right! Both Keith "Goliath" David and Crispin "Red Arrow" Freeman will also be at MomoCon!
As usual, at my autograph sessions, I will happily sign anything you bring along with you for free. But I will also be signing and selling copies of my two novels RAIN OF THE GHOSTS and SPIRITS OF ASH AND FOAM. ($10 per book, cash only.) If you purchase both books (signed and personalized for $20 cash total), you get a FREE art surprise. I will also be signing and selling copies of my animation and radio play scripts (from GARGOYLES, MEN IN BLACK, STARSHIP TROOPERS, TEAM ATLANTIS, W.I.T.C.H., THE BATMAN, THE SPECTACULAR SPIDER-MAN, DC SHOWCASE: GREEN ARROW, BATMAN: THE BRAVE AND THE BOLD, THE SPECTACULAR SPIDER-MAN MEETS GARGOYLES, YOUNG JUSTICE, BEWARE THE BATMAN, GARGOYLES MEETS THE SPECTACULAR SPIDER-MAN MEETS YOUNG JUSTICE and KIM POSSIBLE). Each signed and personalized script is $20 cash. I'll also be giving away #RainoftheGhosts AudioPlay postcards for free!
So please stop by and say hello!
Hello, Mr. Weisman.
I had a question regarding the adaptation of original characters from television to their comic book counterparts. One of the more displayed occurrences of the comic book integrating a character from a television series was with DC comics integrating Harley Quinn from the Batman: The Animated Series. Since you had similar experience when the Aqualad character you created in conjunction with Brandon Vietti and Phil Bourassa became the official Aqualad of the DC comics universe, I thought you could answer a few questions on the subject.
1. What is the official process a comic book marketing company must use in order for its writers to begin using an original character? Do representatives from the comic book corporations contact writers from the television program and make negotiate to gain permission from you and other important figure heads on the television program?
2. How long does the process take for the comic book corporation to acquire all of the rights to the character and include the individual in the comic books?
3. How do these companies determine what makes an original character worthy of being integrated into the comic book continuity of these fictional universes? Since the version of the Aqualad character you created became the official one in the DC Comics universe, I imagine that the officials representing the comic book company would have explained what properties stood out the most.
4. Which party retains the copyright stemming from the creation of the character?
5. What are the chances that another one of your original characters from your Young Justice series, Green Beetle, will be adapted for the DC Comics continuity? After seeing the show, I was very surprised to learn everything about the character had not already been adapted from the comic books, but was an original creation on your part. Despite the limited screen time compared to some of the main characters, the character was fleshed-out and well-developed. I thought you had put enough creativity for the character to make a jump to the comic book continuity.
Thank you for your time.
1. I'm not too comfortable answering this generically. I'm sure every case is unique. So I can only speak to examples I've been involved with, specifically - as you mentioned - Aqualad. In that case, the thing to keep in mind is that no one employed on the production has any rights in ANY of the characters we create. It's all being done under a "Work For Hire" contract, which means that Time-Warner, the company that owns DC Comics, Warner Bros Animation and Cartoon Network, owns all our work product outright. So they don't need our permission to use characters they already own, including Aqualad, which (a) was based at least in part on the existing Aqualad that they already owned and (b) they owned from the moment the idea for the new version came out of our heads, pens, tablets and keyboards. Geoff Johns did contact us and talk to us about the details of our version. He then went off and did his own revision on that for DC Comics.
2. See above. They already owned it. So it took NO time.
3. I think Geoff just liked the character - and/or thought he could do something with him - but you'd really have to ask him.
4. There are no parties. There is only one big corporation with multiple divisions.
5. I think it's unlikely, because if it didn't happen back when the show was on the air, why would it happen now?
1) Do you ever grow tired or weary of writing and working on only super hero type of shows? I'm assuming working on this new star wars series must of been a breath of fresh air for you?
2)When it comes to the projects you create and produce how do you pick the correct voice director for the project? Do you have a process you go through or that type of thing out of your hands?
1. They're not that different. And I love super-heroes. It's a bastard genre born from every other type of genre fiction, which allows me to do almost anything.
2. Well, when it's up to me, I tend to go with Jamie Thomason, who's both amazingly talented and a good friend. We have our rapport down to a science, and so it makes the process both fun and phenomenal. But sometimes it's not my call. And then there are a number of other great directors I've also worked with, in particular Ginny McSwain, but also Andrea Romano, Curtis Koller, Dave Filoni, Sue Blu and others. I also enjoy voice directing myself, so if schedules permit, I'm game.
ONE MORE TIME!! This looks to be as final a revision as it's going to get for Denver Comic Con website (http://denvercomiccon.com/), before I head for the airport in a couple minutes. But, again, follow me on TWITTER @Greg_Weisman to stay up-to-the-minute on when and where I'll be.
DENVER COMIC CON LATEST PANEL, INTERVIEW & SIGNING SCHEDULE
FRIDAY, JUNE 13th, 2014
10:30am - 11:20am - ART OF THE PITCH in ROOM 110/112.
Victor Cook, Greg Guler and myself will be talking about pitching and selling animated telvision series to the Powers That Be.
11:30am - 12:30pm - SIGNING at my BOOTH 122 on the main floor.
I'll be signing my novel RAIN OF THE GHOSTS throughout the weekend for $10 cash. (That $10 includes the book, a personalized signature and copies of the original development art by Kuni Tomita for the television version of Rain that never was.) I also have a half-dozen copies of Young Justice teleplays, which I'll sell (and sign) for $20 cash. I'll also sign anything else you bring and put in front of me for free - especially if you buy my book. ;)
12:50pm - 1:20pm - INTERVIEW with Tim Beyers of MOTLEY FOOL in the MEDIA LOUNGE.
1:30pm - 2:20pm - CARTOON VOICES I in the MAIN EVENTS ROOM.
I'll be moderating this panel, which features Kevin Conroy, Jim Cummings, Michael Dorn, Jennifer Hale & Veronica Taylor.
3:30pm - 4:30pm - SIGNING at my BOOTH 122 on the main floor.
4:45pm - 5:35pm - YOUNG JUSTICE in the MINI-MAIN ROOM.
This one includes myself (writer-producer, voice actor) & Christopher Jones (YJ companion comic book artist).
5:35pm - 6:05pm - OPENING CEREMONIES in the MAIN EVENTS ROOM.
7:00pm - 10:00pm - FOUR COLOR MIXER at Breckinridge Brewery/Hilton Garden Inn Denver Downtown.
SATURDAY, JUNE 14th, 2014
9:35am - 10:00am - INTERVIEW with BEYOND THE TROPE at my table at Booth 122.
10:00am - 10:20am - INTERVIEW with WESTWORD at my table at Booth 122.
10:30am - 11:20am - RAIN OF THE GHOSTS in ROOM 201.
I'll be reading from and discussing my new novels, Rain of the Ghosts & Spirits of Ash and Foam.
11:45am - 12:35pm - ANIMATION PROFESSIONALS in ROOM 201
I'm moderating this panel, which features Chris Beaver, Victor Cook, Greg Guler, Derek Hunter, Christy Marx, & Jan Scott-Frasier.
3:00pm - 3:50pm - SIGNING at my BOOTH 122 on the main floor.
4:00pm - 4:50pm - GARGOYLES 20th ANNIVERSARY in the MAIN EVENTS ROOM.
This is a big one, with me (writer-producer-creator), Victor Cook (storyboard artist), Jim Cummings (voice of Dingo), Jonathan Frakes (voice of David Xanatos), Greg Guler (character designer), Salli Richardson-Whitfield (voice of Elisa Maza) and Marina Sirtis (voice of Demona) .
5:00pm - 6:00pm - SIGNING at my BOOTH 122 on the main floor.
SUNDAY, JUNE 15th, 2014
9:30am - 10:20am - INTERVIEW with EXAMINER.COM at my BOOTH 122.
10:30am - 11:20am - THE SPECTACULAR SPIDER-MAN in the MINI-MAIN ROOM.
Includes myself (writer-producer-voice actor), Victor Cook (director-producer), Jim Cummings (voice of Crusher Hogan) & Greg Guler (artist).
1:30pm - 2:30pm - SIGNING at my BOOTH 122 on the main floor.
2:45pm - 3:35pm - CARTOON VOICES II in the MAIN EVENTS ROOM.
Again, I'm moderating for Robert Axelrod, Kimberly Brooks, Jennifer Hale & April Stewart.
4:00pm - 5:00pm - SIGNING at my BOOTH 122 on the main floor.
In addition to the times listed above, I'll often just be hanging out at my table, so stop by. Attend a panel, buy a book, say hello!
Do you think if I call cartoon network on a regular and complain about how unfair they are for taking down YJ before we was able to have a 3rd/4th/5th season but yet they have all these other shows like bakugan still coming on.? Im not trying to down play them but seriously. ?! Why that play all the time but yet there is never a rerun of YJ .?? It came on on Saturday and Sunday morning. ..that's it.! I wouldn't blame the ratings if its so low.. who really wakes up at 8 or 9 to watch that show (could have came on at 10, not sure since it been so long) unless they know it was going to play that time.?
And that's another thing.. how is anybody suppose to know is there was gonna be another season if y'all don't advertise it.? I realized that y'all didn't do that for the 2nd season or if you was gonna have one (unless I looked it up on Google or something). There was times were I didn't know if a show was coming on that Saturday morning and I would have woke up for nothing ... just upset and sad.. I think that's another reason why y'all did not have that many ratings... we never really knew when it would come on unless we look it up. Please answer ... I really wanna know
I've lost track of exactly what question you "really wanna know" the answer for. So I'll try to comment on what I can.
I think we can all agree that the series didn't receive as much promotion as we might have liked. Frankly, no show I've ever worked on has ever received as much promotion as I would have liked. None. (Although Star Wars Rebels may be the exception. Lucasfilm has quite the machine up and running to create buzz.) That's just the way things go in a business where promoting an animated series is an additional expense that most networks have decided they can't afford.
Whether you like Bakugan or not, keep in mind it's an acquisition, not an original series. It's considerably cheaper because the U.S. network doesn't have to pay for production, only for a license fee to air it in America.
Calling CN to complain daily does NOT sound like a good plan. Imagine if someone did that to you?
Did you, Greg Guler, and Frank Paur design Demona to be sexy on purpose?
Well... we didn't design her NOT to be sexy. I guess what I'm saying is that having her be sexy wasn't our priority. We wanted her to look formidable, mostly. But gargoyles are just... naturally sexy, I guess. (Everyone tells me so.)
When the shows are being edited, how is it decided what goes and what stays? How are some lines more important to the over all plot of the story than others?
Um. They just are. I mean, if a character says something essential to understanding the plot, that'll stay in. If it's very funny, it'll probably stay in. If it's kinda off-point, and the episode is running long, then the line's at risk.
I have a few questions about some of your unmade projects that've been mentioned in passing. Hopefully you'll be at liberty to discuss these, but I'd understand if not.
1. On a panel about developing television animation, you'd mentioned that your and Brandon Vietti's Green Lantern development "didn't even have the same lead [character]" as Green Lantern: The Animated Series. Though I'm very happy with how that show turned out, as it was left in very capable hands, I'm curious. Who was the lead in your Green Lantern development?
2. I was also surprised to hear you'd worked on a Space Ghost, as he's my favorite superhero. Though it didn't seem like you developed it for long, what was the general tone you and Vietti were pushing toward with that series?
2b.What was the cast like?
3. You mention working on a Thundercats reboot here (http://www.s8.org/gargoyles/askgreg/search.php?qid=14819). Was it the infamous "rock band" development of the series, or a different one entirely?
4. At Dreamworks, you'd developed Small Soldiers: The Animated Series. Was the show meant to be a series about the continuing battle between the toys or was it going to be a show that used the mythology behind the toys (the battle between the Gorgonites and the Commando Elite) as the basis for its stories?
1. Charlie Vickers. Though pretty much every Earth Lantern you can think of would have gotten in there eventually. (Plus a lot of extra-terrestrial Lanterns, as well.) Hal would have had a prominent role in the pilot.
2. Space Ghost is also a favorite of mine. General tone: action, mystery, fun. Lots of HB action characters, including another of my personal favorites: the Herculoids.
3. So long ago... Might have been a rock band though my one episode didn't feature that as an element. It was for Duane Capizzi, if that helps narrow it down.
4. Even LONGER ago. But both, I think.
Hi, Greg, just following up from what you said on twitter. Did you hear the comments Paul Dini made about why shows like Young Justice were not renewed?
Here's a link to the specific clip
And a link to the full podcast in case anyone else wants it
What are your thoughts on this?
For the record, I listened to the clip but not the entire podcast. So if I missed out on some important context, I apologize.
I agree with a lot of what was said, but I don't agree that the executives didn't want girls to watch. (And I'm not really sure that's exactly what was being said, though that's the way it's been reported on that internet thing.) The target audience for Young Justice was ALWAYS Boys 6-11. If we ALSO got girls that was fine. If we got older kids, tweens, teens and adults, that was fine. If we got younger kids, that was fine.
But we had to hit the target: Boys 6-11. And we did to some extent, but not enough to compensate for the loss of our toy line. Anyone who says the show was cancelled because too many people (of any specific demographic) were watching us, is, I think, grasping at straws. It's not that too many were watching, it's that NOT ENOUGH were watching in our target demographic. Even then, if the toys had sold, we would have been fine. But the toy line was cancelled, which took away our financing for the series. And that was that.
Thanks to the joys of TiVO my daughter and I have discovered and been watching Ben 10.
(Mini review: The theme song is right up there with Spectacular Spiderman and the characters are fun and endearing. That said, at least as far as we've gotten, I have noticed a lack of, (for lack of coming up with a better word), 'depth' plotwise: They stop the bad guy at the nuclear power plant, but they don't explain where all the workers went. The rescue the three kids at a sleepaway camp overrun but space fungus, but don't explain whether the rest of the camp ran away or were captured and consumed. Etc. I noticed that the show was structured with one season of standalone plot stories mostly showing Ben, Gwen and the grandfather adjusting and interacting in their new situation. The second season starts having plots of Plumbers, and Forever Knights and aliens groups, but mainly having them appear in standalone stories. Starting the 3rd season I presume they'll start putting together all these parts into more of a greater mythology. Or so I guess from the fact they have multiple follow-up series.)
I noticed that you wrote the episode I most recently watched, Ben 10,000. It was very good. It made me wonder- it seems to be the most 'overarching plot' based so far. Beyond showing us future hero Ben, future magic caster Gwen, future society etc- it seems to tease the direction of the series. Leading me to my questions:
1- Were you approached to write this particular episode because you are know for working on shows with detailed overarching mythology, or was it more random of that episode being available, or you choosing from a list and it appealing to you?
2- In the other direction, when you are choosing none regular writers for your own shows, do you choose specific writers with their track record in mind to match certain types of stories? Do you offer them to choose among several none claimed upcoming plot whether or not it matches what you think of as that writers specialty, or what writing he or she did that impressed you?
3- What type of preparation do you do/expect for none series writers? Watch all the previous episodes? Read synapses of all? Prepare a list of representative episodes to back up the plot of the episode to be written and its tone? Just take detailed instructions from the show runners and expect tremendous edits to cover the adjustments to continuity?
Laura 'ad astra' Sack
(As apposed to the 'as astra' I accidentally autofilled into my last 12 postings;)
1. So long ago... As I recall, I think story editors Tom Pugsley and Greg Klein approached me because they knew I liked Time Travel stories. I had done one for them on THE MUMMY.
2. Generally, I assemble a writing 'staff' at the beginning of each season. '(Staff' is in quotes, because these days, in fact, the 'staff' is all freelancers.) In choosing a staff, I generally am choosing from an embarrassment of riches. There are a ton of talented writers who can handle the kind of show I tend to do. I have a few individuals that I've worked with many times before, who are familiar with the way I work and are very good. So I tend to go back to them over and over, assuming they're available. Sometimes, on rare occasions, I push a specific story on a specific writer. More often, I've got three or four and - schedule allowing - I let the writers fight it out for which they'd prefer. (It's never much of a fight.)
3. I'm not clear what you mean by "none series writers". Even assuming the "none" is a typo for "non," I'm still not sure. As for prep, I expect them to have done their homework. We rarely have the footage for them to look at episodes, but I do expect them to keep up with reading the final outlines and scripts.
You had mentioned that you negotiated with Jeffrey Katzenberg to get the publishing rights for Rain of the Ghosts. Did you attempt to acquire the rights to any other property you developed while at Dreamworks?
I have turnaround rights to pitch a couple of other properties that I developed there.
You once mentioned that you write down character traits, or something of the like, to help with making sure all the characters are in-character; but on a show with multiple writers, and with character development over the course of a story, how do you write those traits down?
I usually type up a document, generally called a series bible, and distribute that to everyone involved. Also, all writers have access to ALL of the outlines and scripts, so they can see how our characters are evolving.
A few question on recording voices.
You are known to have a strong preference for recording voices with the whole cast together whenever possible. It is my understanding that is not the industry norm.
1- Have you worked on shows recorded in isolation? By choice? Do you ever think that method better suits certain genres or specific shows? (I recall an interview with a voice actress on Daria in which she said how much she loved being by herself in the booth repeating a line multiple times trying different inflections and pacing. It occurred to me such a satirical show might have benefited by a less natural feel with starker separations between spoken lines.)
2- Have you ever had resistance from above when you let them know you planned on recording the actors together?
3- Is it becoming more common to record voices together, or are most shows still recorded in isolation? (Are there any other shows you haven't worked on that you know were recorded together?)
And that is my last saved up comment! Thank you so much for your time reading these comments and the work that inspire them.
1. I have, though not on shows I produced. (Or at least not regularly on shows I produced.)
1a. I don't think it's ever a good idea, but some folk swear by it. Different strokes, and all that...
2. No. A group recording is more economic, so for purely financial reasons, it is the industry norm in television. Not in movies. But I'm mostly a TV guy.
3. You really have it backwards. MOST shows record their actors in groups. Only a few do not.